Hasta La Motion!

Has anyone used SquidNet to manage their Maya network renderings?

I’ve download and installed the latest version from the website (www.squidnetsoftware.com). It has plenty of features and looks pretty cool as well. And the price is awesome!!

I’ve been using Spider for a while now and it looks like it’s no longer being supported (ie. no new features lately!)

Just wanted to see if anyone has used SquidNet before I purchase a few licenses.

Any response would be appreciated !!

Thanks !

I am drawing a blank on this.

how do I set the input and output connections for a group in python?

make a group, and then link a node inside the group to the input connections….

I was reading the houdini details for the apprentice download and it states that you are limited to 1 render token using mantra (their internal rendering program). Does this mean that I can only render 1 whole scene and then I can no longer render using the apprentice? Im a little confused as to what they mean…Can I get some clarification? Thank you!

Hairston

C.O.R.E. Digital Pictures located in downtown Toronto has immediate openings for experienced Modeling/Texturing Artists to work on a live action visual effects feature film.

The company was founded in 1994 and is one of Canada‘s leading digital visual effects and animation studios. Over a decade later, C.O.R.E. has successfully built three divisions: C.O.R.E. Digital Pictures, C.O.R.E. Toons and C.O.R.E. Feature Animation. Over the years, with the underlying philosophy that a studio designed by artists for artists fosters the best creative environment, C.O.R.E. has produced award-winning work for more than 55 Feature Films, 24 Television Series and 24 Movies of the Week.

C.O.R.E. offers an exciting work environment; our open work structure allows for creativity and fun at the same time. The continuous flow of interesting new projects that are awarded from major studios and production companies makes working at C.O.R.E. a unique and fulfilling experience.

Qualifications and Skills:
·Excellent working knowledge of Houdini
·Ability to work with common operating systems like Windows and PC based workstations
·Basic knowledge of Linux/Unix a plus.
·Excellent understanding of efficient modeling and texturing processes
· Ability to understand/interpret the creative requirements in order to create an accurate representation within a defined timeline
·Accredited Post secondary school compositing course or equivalent
·3-5 years of experience
·Must be legally authorized to work in Canada

Job Duties:
·Work with other modelers, texture artists, technical directors, riggers, matte painters, lighters and other cg artists to create photo real assets and all dependencies within a defined production pipeline
·Building geometry, uv unwrapping, painting photo real textures, groom fur/feathers, and define surfaces
·Ability to work with cyber scanned or library models as well as creating geometry from scratch is required
·Responsible for performing research relating to manufacturing process to achieve highest level of realism
·Must be able to illustrate examples of fur grooming work
·Take creative direction from Leads/VFX Supervisor
·Additional duties as required

Qualified applicants can send their resumes, demo reels in DVD-R format including shot breakdown to:
C.O.R.E. Digital Pictures Recruiting
461 King St. West
Toronto, Ontario
M5V 1K7

We would like to thank all applicants for their interest however only those under consideration will be contacted. No phone calls please.

[NEWS=”http://www.cgnews.com/wp-content/uploads/wrong_gag_thumb.jpg”]19194[/NEWS]Patrick Daughters directed ‘Wrong,’ Depeche Mode’s first single from their latest album, Sounds of the Universe. The dark promo shows us a car going backwards crashing into things with an unexpected outcome (not for the faint-hearted!) The promo was produced by Mute Records and Lana Kim at The Directors Bureau, with post by MPC. MPC supervisors from LA and London assisted the two night shoot in LA. To allow a timely workflow and for cleanup to start straight away, 2K scans were graded before the edit was approved. MPC’s main challenge was to remove the camera arm fixed onto the front of the car.

The 2D team had to paint out this arm on moving shots and patch pieces of clean road over the top, which was made harder by the fact that it was raining in the live action plate. The camera’s shadows and car reflections also had to be removed frame by frame as well as the stunt driver who was in the back seat steering the car.

Some of the hero’s action in the car had to re-shot using green screen. These shots needed a background tracked and composited, involving very complicated hair keying. This was achieved using Shake’s extensive keying tools.

The band was also shot green screen on a separate day in New York and the location material was shot later in Los Angeles. This material had to be composited and a light change over them had to be tracked to reflect the headlight interaction. For the final scene when the car crashes the actor had to be shot separately and composited.

Colourist Mark Gethin worked closely with Patrick Daughters to create the dark, moody atmosphere for the spot.

About MPC
MPC creates high-end digital visual effects and computer animation for the feature film, advertising, music and television industries. With studios based in Soho London, Santa Monica LA and Vancouver Canada, this award winning facility has worked on many high profile projects including The Chronicles of Narnia: Prince Caspian, Quantum of Solace and the classic Cadbury ‘Gorilla’s Moment’.

Credits
Track: Wrong
Artist: Depeche Mode
Record Company: Mute Records
Director: Patrick Daughters
Comissioner: John Moule
DoP: Shawn Kim
Production Company: The Directors Bureau
Production Company Producer: Lana Kim
Editor: Akiko Iwakawa @ Final Cut

For more information about MPC visit: www.moving-picture.com.